1 pce.

'Terrywood'

OHWOW

 

Printin’

February 15–May 14, 2012
MoMA, The Paul J. Sachs Prints and Illustrated Books Galleries, second floor

Organized in conjunction with the exhibition Print/Out, Printin’ takes as its starting point DeLuxe (2005), a tour de force portfolio of 60 works by Ellen Gallagher (American, b. 1965) that challenged traditional ideas of what a print could be. This technically complex work employs a veritable riot of mediums, unorthodox tools, and elements, from slicks of greasy pomade to plastic ice cubes. DeLuxe also offers a multivalent constellation of ideas, touching on such issues as portraiture, identity, history, advertising, commodity, and the disruption, translation, and recasting of space.

via: MEDIA AND MATERIALITY 2012

A portrait of New York City early 1980s

I stared into the valley: it was gone—

 

wholly submerged! A vast flat sea remained,   

gray, with no waves, no beaches; all was one.   

And here and there I noticed, when I strained,   

the alien clamoring of small, wild voices:   

birds that had lost their way in that vain land.   

And high above, the skeletons of beeches,   

as if suspended, and the reveries   

of ruins and of the hermit’s hidden reaches.   

And a dog yelped and yelped, as if in fear,   

I knew not where nor why. Perhaps he heard   

strange footsteps, neither far away nor near—   

echoing footsteps, neither slow nor quick,   

alternating, eternal. Down I stared,   

but I saw nothing, no one, looking back.   

The reveries of ruins asked: “Will no   

one come?” The skeletons of trees inquired:   

“And who are you, forever on the go?”   

I may have seen a shadow then, an errant   

shadow, bearing a bundle on its head.   

I saw—and no more saw, in the same instant.   

All I could hear were the uneasy screeches   

of the lost birds, the yelping of the stray,   

and, on that sea that lacked both waves and beaches,   

the footsteps, neither near nor far away.

In the Fog

By Giovanni Pascoli

Photograph: Alec Soth

 

Whitening

The microwave and espresso machine, with their coat of white house paint, no longer function.

Mr. Biesenbach never used them anyway.

via: NYTimes

On Contact

Magnum Contact Sheets at ICP

'Andy as the Odalisque'

Taylor Mead at Churner and Churner

link

Two-faced

Maurizio Cattelan Photographed by Pierpaolo Ferrari

Big Drip

Daniel Arsham at OHWOW